Takt Op. Destiny – 02 – Cancrizans

This week Takt takes a look back earlier in the year 2047, when Takt, Cosette and Anna shared an idyllic middle class nuclear family home in Anytown, USA. There’s a human-D2 truce in effect and music is mostly banned, but Takt only lives to play his grand piano in the garage. Cosette, who has a lot more personality in this flashback, does her best to keep his lair clean, resulting in the two getting into bickerfests that Anna tries to stamp out.

Not too different from their dynamic in the first episode that takes place some months later…but again, the big difference here is past Cosette being a delightfully bright and cheerful person. It’s not clearly explained what brought Takt into their home, but you can tell beyond the bickering that Cosette deeply cares about Takt and wants to share his talent with others. We also learn that she can play too…the same time Takt learns, and seems both annoyed and intrigued.

Cosette ends up booking Takt for the Symphonia’s traveling music festival, a rare joyful respite from the totally music-less norm. How this is even possible—a huge military buildup around the town?—is not made clear. All that’s clear is that Cosette is absolutely certain Takt will show up, even when he’s late and she has to play in order to stall for time. When he does arrive and hits those four famous Beethoven notes to interrupt her, she beams with the power of a thousand happy suns!

After Takt ditches the classical for some early modern jams that wouldn’t be out of place in a speakeasy, he invites Cosette to join him for four-hands, wowing the crowd with their talent (and piquing the interest of the Grand Maestro, Sagan). Before, Takt could only imagine in his head playing before a rapt audience and then basking in their applause upon reaching the coda. Now that it’s actually happening thanks to Cosette, he can’t hide his elation.

Just when Takt and Cosette are at their highest point, it all goes to shit when a D2 fires right on their position, destroying the piano and causing a huge explosion. The episode expertly lulled me into a toe-tapping false sense of security as we watched Take and Cosette play and blush and beam. Don’t get me wrong, I knew something would happen, I just didn’t know how, where, or when. The direction exploited that to the hilt.

When the smoke clears, Takt, one of his arms and hands mangled, is lying on the charred ground bleeding. Cosette is on top of him, in even worse shape (it could be she tried to shield Takt). Cosette ends up dying in his arms, but he refuses to accept that, and demans she wake back up. With this, her mysterious pendant suddenly shines and she rises Castle in the Sky-like out of a gobsmacked Takt’s arms.

Some kind of spirit emerges from the rock, decides to claim Takt’s injured arm by ripping it off, then merges with Cosette to become the titular Destiny. While he outfit is a damn sight more expressive, much of the Cosette Take and Anna knew—and loved—is lost. And that’s how Cosette became a Musicart and Takt her conductor: when tragedy struck. The next time we’re back in the present it will be tinged with melancholy, now that we know who Cosette was, and is no more.

Rating: 4/5 Stars

Takt Op. Destiny – 01 (First Impressions) – Settling the Score

It’s 2047, and music is banned. If it’s ever played, fearsome alien monsters called D2 arrive and fuck shit up. So when young man sits at a lovely upright piano and bangs out some Beethoven, a D2 comes running…right in the middle of an unassuming town full of unassuming people. The D2 looks like it’s about to obliterate the pianist for sure…but he’s saved by a ridiculously strong young woman.

She is Colette, AKA Destiny, a Musicart, and he is Takt, her Conductor. Transforming into a Musical Magical Girl, Destiny easily defeats the mid-level D2. The brief but wonderfully precussive battle set to a more symphonic arrangement of Symphony No. 5 IV. Allegro is a feast for eye and ear. This is what happens when Madhouse and Mappa join forces.

Takt and Destiny were just passing by the town while on a long and interminable road trip to New York City, where their self-appointed leader Anna hopes they can have Destiny “tuned” to be more efficient in her fighting, as she always ends up exhausting Takt. Destiny loves eating, but also has to due to her extremely fast metabolism. Takt should train, but all he cares about is music.

Destiny is feeling particularly brash, and Takt is sufficiently beat and confident in her skills, that she goes off on her own while he and Anna wait in a remote highway diner (one wall of which Destiny destroys as she exits). She ultimately fails to eliminate the D2 in the area due to their boss being a particularly tough customer, as she regales to them with cute Panty & Stocking-style visuals.

Her mistake was going off without Takt, or rather Takt not accompanying her (neither of them listen to Anna’s directives, a fun running gag). But then Destiny rushes back to town with her super speed, picks up the piano with her super strength, and rushes it back to the abandoned factory where the boss lurks. There, her Conductor starts to play Moonlight Sonata, and it’s off to the races with a sakuga-fest of a boss battle that ends in a victory.

As a weapon, Destiny comes off like a piano: capable of great bluntness and great precision; capable of being extremely quiet or loud. More than anything, she’s only as good as the person making use of her. Takt is a brilliant musician, but has a lot to learn about Conducting. If they’re ever going to get to New York—much less save the world from the D2—they’re both going to have to step up their games.

Takt Op. Destiny is a crisp, bright disco ball of luscious anime goodness. Will every episode look this good? Who knows, but if you want to hook an audience right from the get-go, this is how you do it! Play it again, Takt.

Kekkai Sensen – 03

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Leo isn’t one to freak out when confronted by a ghost, especially if she’s cute. Instead, he takes her picture to confirm if she’s a ghost, but she shows up in the photos. White tells him she likes him and draws nearer, only for Leo to wake up in his apartment. The transition has us wondering how much of his interactino with White is in his head, but there’s no time to ponder such things, as he’s being evicted and has forty seconds to vacate or, presumably, be eaten. Just another day in the ‘Lot!

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From there, we see him dozing on the couch in Libra HQ, refusing a stipend any higher than the standard rate even though he’s still delivering pizzas and sending money home. But this week Leo is on the sidelines, as the bulk of the episode follows Klaus on his quest to satisfy his fix of Prosfair, which is perhaps best described as “Chess on Acid”. It’s a game as intricate and bonkers as the world that conceived it.

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Initially, the game is introduced as a little joke, with the physically imposing yet cultured Klaus getting way to into it on his original Macintosh(!), to the bemusement of his colleagues. But when Zapp and Chain’s efforts to investigate the distribution of an advanced (and world-unbalancing) new drug called Angel Scale, it rises to the utmost importance, since one of the most powerful overbosses in the Alterworld, Arlelelle Eruca Fulgrouche (what a name!), happens to be a huge fan of Prosfair.

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When he arrives with his comely colleague K.K., Klaus is shocked to find Prosfair grandmaster Ulchenko has also come to challenge Fulgrouche. In the Russian’s mind, he has risen as high as he can amongst mankind in the game, and so playing a non-human is the next logical step. Also, he wants his country to have nuclear weapons, something Fulgrouche can make happen.

Alas, Ulchenko is no match for the don, coming up two minutes short of the nine hours he had to survive in a game. The exponentialy increasing speed and complexity of the game as it drags out nearly kills Ulchenko, and as per their agreement, since he lost, Fulgrouche will take the rest of that life.

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That’s when Klaus finds his opening to finally connect these events with the mission to uncover the Angel Scale ring. If Klaus lasts 99 hours straight, Fulgrouche agrees to not only reveal the trafficking routes of the drug, but also spare the Russian. And doggone it, the guy does it! As K.K. chain smokes and Ulchenko waits in stunned disbelief.

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Klaus doesn’t win, but he hangs with Fulgrouche for the full 99 hours, and all to the lovely stylings of Ludwig van’s vaunted Ninth Symphony, Ode to Joy, an inspired use of a classic piece of music that really lends the duel otherworldly grandeur, as befits a prosfair battle taking place in the Alterworld.

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Klaus gets the trafficking routes, Ulchenko is freed, and K.K. makes sure Libra takes out all the cells pushing Angel Scale. It’s all made possible thanks to Klaus’ unparalleled strength, selflessness, and perseverance. Yet, to hear it from Leo, book-ending the episode with his interactions with White, he has no idea what Klaus did for the firm, and he may never know.

All Steve Starphase said is that “anything in this world can happen”, which has so far proven true. For Leo, those words must be pretty reassuring, because the one thing he wants most in the world is to heal Michella.

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Shigatsu wa Kimi no Uso – 04

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I think I’m still in shock. Happy shock. My heart is still racing. What the hell just happened? What did I watch? What did I just experience? I’ll tell you what that was: It was far more than a violin competition entry with piano accompaniment, play-by-play, and color commentary. That was a frikkin’ journey with no clear destination. That was nothing less than one of the finest and most riveting episodes of anime I’ve ever seen.

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Perhaps so strong a reaction is a product of having sat through most of half hour with almost no dialogue whatsoever, aside from the occasional comment from a stunned onlooker. We’re in that audience along with them, in this vast dark, dusty chamber that’s only a room until someone picks up an instrument and starts to wield a kind of wordless magic.

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That pure sound emanating from piano and violin taps into our most fundamental emotions of joy and pain. The silence is a canvas; Kaori and Kousei are charged with filling it. And fill it they do. But first, the buildup. Oh, God, the build-up before the Big Game. Once off that bike and miming the sheet music, things start to get real for Kousei, and he starts to get lost in that black and white.

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Kaori headbutts him, even a little harder than she intended; she’s nervous too! But neither of them are going out there alone. They’re going to play together, and she belives the two of them can do it together. She leaves no room for protest as she grabs his hand and leads him to the stage. We, and Kousei, don’t know it, but this is the moment of departure on the journey Kaori takes him on. He says she’s “freedom itself,” out loud. “I’m not,” she rebuts. “Music is Freedom.”

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With that, they take the stage, and Kousei endlessly adjusts his bench as some in the crowd starts to recognize him. They’re voices he can hear; they sound similar to the voices he heard when he was a prodigy, when his mother had essentially placed him in a hermetic prison with musical bars he could not hope to bend. But back then, just as now, he does not blame his mother. He felt honored to be the recipient of her wisdom and guidance; whatever pain he felt, it was the price of being able to bear that greatness.

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Trying to remember Kaori’s words — music isn’t a prison, it’s freedom — the two begin, and Kaori goes easy on him at first. Her initially docile play gives him time to find his bearings. Almost like riding a bike, his body remembers what to do, and the fact he can hear his own notes encourages him. Then Kaori gives him a look, and he knows she’s about to turn off the main road of their journey and enter some dense brush. He can keep up like she knows he can, or he can get lost.

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I knew as soon as the started playing that things could go south at any time without warning, like they did at the cafe, so I watched with a lump in my throat and a slight weight in my chest. The brilliance of the episode is its depiction of Kousei getting lost back in his deep sea, the water and darkness washing around him and us. The gradual and increasing distortion of the music is as emotionally effective as it is technically impressive.

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Eventually, things get so bad for Kousei, he can barely hear anything at all, and he stops, worried he’ll ruin Kaori’s playing. Then Kaori stops too. When they both stop, everything from a competition standpoint is over. But this isn’t about a competition, it’s about Kaori and Kousei’s journey. He’s tripped and fallen and can’t – or won’t get up, but Kaori isn’t going to leave him behind. She doesn’t want to continue on alone.

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But wait…we’re only a little over halfway through the episode. Things are bleak, but a comeback is still possible! Lest we forget, a tearful Kaori begged Kousei to help her prove she could do this, that they could do this. She’s not annoyed Kousei stopped; she’s scared. He has to get up and they have to keep going. “Again,” she says. They start playing again, but Kousei is still in the trippy sea, the currents choking the notes.

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Then Kousei remembers his mother singing “Twinkle, Twinkle, Little Star” during a happier time. He remembers her telling him “The Piano Is You.” Caress it like an infant and it coos; bang its keys and it roars. Kousei digs deep and changes his strategy: he’ll stop worrying about hearing the notes and merely imagine them, playing with his whole body.

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He starts playing like a man possessed; like a man one with the piano, and he even starts getting into it with Kaori, as he stops being her accompanist and morphs into her opponent. He’s back on his feet and racing ahead; and she’s more than game to chase him!

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He’s no longer behind the musical bars. Kaori, and the music, has sprung him, and sprung him righteously. He’s no longer looking down, he’s looking up, looking at Kaori, smiling, full of joy, and Kaori’s looking right back at him, no less overjoyed that they’ve recovered so splendidly. This is what she saw in him.

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POOR TSUBAKI!!! T_T

And as they get lost in each other’s eyes and music, they put the whole of the audience under a spell. Tsubaki, who jumped up and cheered when he started playing again, adopts a pained, defeated expression when she realizes what’s going on between the two. Next to her, Ryouta becomes ever more lovestruck with Kaori.

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The episode realizes that just because they’re both musicians doesn’t mean this performance makes them a couple now. She even still calls him “Friend A” up there, though at this point it could just be an ironic pet name. It’s not as if Ryouta is done; in fact, he still probably has the inside line. A harrowing love rhombus has been built this day.

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But that doesn’t matter to Kaori or Kousei right now; Spring has Sprung and they’re on Cloud Nine; the change of Kousei’s scenery effectively illustrates that point. Things are getting brighter and more saturated until they finally bring the piece to a stirring close, bringing the house down…

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But the performance, which was perhaps as long and energy-draining a performance as she ever gave, brings Kaori down as well. She left nothing left in her tank. Kousei got bloodied while dismounting from Tsubaki’s bike, which provided a measure of symmetry to this closing shot, But while that was a joke, this isn’t. It suddenly, ruthlessly imparts the episode’s title – “Departure” – with unspeakable dread and foreboding. The episode plummets from the dizziest heights to the lowest depths. Not again, Kousei may be thinking; God, don’t do this to me again.

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P.S. That up there is a 1,158-word review. When I really like something, I tend to ramble.

Shigatsu wa Kimi no Uso – 03

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Kaori knows about Kousei. Of course she does; any musician worth their salt knows of the “human metronome” who played with a symphony at eight. He’s a celebrity, but he’s one you always talk about like “Well…yeah…shame about that guy…he was really going places.”

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We open this episode with Kousei a bit annoyed he’s gone from “extra” to “substitute”, but he has no idea of Kaori’s true interest in him, though he probably has an inkling that she knows who he is…or rather was. But we see firsthand along with her just how deep and dark an ocean he’s fallen to the bottom of, where a mental block suddenly kicks in, depriving him of color and hearing his own music just when he’s getting into it.

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It’s a cruel affliction, but Kaori isn’t interested in attending his pity party: she’s on a mission of rehabilitation, not commiseration. Arima Kousei fell into the deep, but she’s come to pull him out. He’s gotten too comfortable in that darkness, to the point painful emergence is inevitable. But Kaori has faith there’s still a brilliant pianist in there, which is why she decides to make a bold decision: to choose Kousei as her accompaniment in the second round of her competition.

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Kousei refuses vehemently, and his reasons are many; insufficient training for accompaniment; inadequate time to rehearse; rustiness; inability to hear the piano…but it all comes down to fear…not even necessarily fear that he won’t be able to do it (of which he’s not at all confident anyway), but because he’ll be leaving that deep dark sea where he’s grown so…accustomed. It will be so bright and loud and scary out there…it will be different.

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But again, from Kaori’s perspective, that’s the point. That sea is a kind of limbo, where he constantly bathes in currents of self-doubt, self-loathing, and self-pity. Kaori means to wean him off those currents. The tactics she takes frankly border on the excessive, and she and Tsubaki kill a forest’s worth of paper plastering all of the walls in Kousei’s life with the sheet music for the competition: Saint-Saëns’ Introduction and Rondo Capriccioso. (I’m sure there’s probably some symbolism in that choice of music, but I”m gonna play my musical tourist card at this juncture.)

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As Kaori sees Tsubaki put everything into trying to get Kousei to agree to play, she also sees the feelings Tsubaki plainly has for him, though she says she considers him more of a little brother (just like he considers her a big sister) than a romantic interest, the fact remains, she loves him. She’s doing this for selfish reasons…for “family” reasons: she doesn’t want to see her kid brother continuing to “live life halfway.” So you’re he’s Beethoven. So what? Beethoven’s a baseline. Play it backwards, upside-down; with a frikkin’ distortion pedal. Stop hiding. Stop running. Start playing.

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What neither Tsubaki nor Kousei know, however, is that Kaori isn’t asking him to play just for his sake, but her’s as well. No matter what crappy stuff has showed up in her life, she’s always kept playing…it’s how they (musicians) survive. On the rooftop, where she finds a Kousei frustrated she’s still pressing the issue, Kaori finally tells Kousei: she’s in a moment where she’s about to lose heart, just as he did so publically and brutally years ago. She needs his support now as badly as he needs to be saved from his sea of silent darkness.

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We close with a heartwarming, Ghibli-esque scene of youthful energy on display in the heart of Spring

It’s there, when she shows that heretofore unseen side of herself, where Kousei realizes Ryouta was right: ‘the girl will let you know.’ He realizes maybe what he thought was impossible wasn’t. He won’t be alone on that stage, Kaori will be right there with him. Alone, they probably wouldn’t have a chance. But together, perhaps they can pull out a performance that may not be perfect, but will propel them into that big bright scary unknown where they both must go to keep surviving.

I. Cannot. Wait to see it.

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Shigatsu wa Kimi no Uso – 02

"He's tapping his fingers...I knew he'd like being back here."
“He’s tapping his fingers…I knew he’d like being back here.”

I should have known this show had every intention of surpassing its already excellent first episode in pure win with its second, showing us just how powerless Arima is to Miyazono Kaori’s charms. He was smitten enough—as I was—before we heard her play. And then we heard her play, and goddamn, that was the best musical performance I’ve seen in an anime since Kids on the Slope; mayyybe a bit better. A truly spellbinding scene that almost seemed to transcend time.

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First I like both the feeling and the characters’ observaiton that the inside of Tama Hall almost feels like they stepped into another dimension. The world of classical music appears small, insular, and passionate. The set piece for the competition is Beethoven’s Violin Sonata No.9 (Kreutzer), and the winner gets to play a rare Guarneri in a recital. We see as the competition progresses that this is a hall that can put you to sleep, but it can also be a place where light and magic springs forth from the hands of the musicians.

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The latter is what happens when it’s Kaori’s turn. She seems to utter a small incantation before not slavishly playing the composer’s piece, but feinting, lunging, and parrying the Sonata as if it were a fencing opponent. One of the more conservative judges calls her play blasphemy, accusing her of “picking a fight” with Beethoven. But I’m not sure he wouldn’t have enjoyed such a rousing version, which sounded nothing like the other players. (Note that I know jack about music, but I know what I like, as does the audience, who chooses Kaori.)

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Not only does Kaori bring the half-full hall to its feet in sustained applause usually reserved for formal concerts, but also tightens her grip on Arima’s heart. Tsubaki surprised him into coming, as this was once a venue where he was all but forced to perform at the highest level to achieve first place at any cost for his mother; in other words, he’s understandably edgy at first. But Kaori simultaneously calms him and sets his heart ablaze.

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After her performance, Kaori intently seeks Arima’s opinion, her hands shaking with anticipation…does she know about him and his past, or does she simply sense it (or neither)? Arima, speechless as he is, is still able to convey how he felt about it: it was the kind of performance that compelled perfect strangers to buy her flowers. I also like how he describes watching Kaori like some kind of movie. He could have also said it was the kind of performance to make someone fall in love, but the reality is she’s on a date with Watari, and he’s designated “Friend A” and nothing more.

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But from the way Kaori acts towards him, it’s bound not to stay that way. Watari, preeminent ladies’ man, senses Arima is crushing on her, but far from warning him to stay away from his girl, he advises him not to be so hasty in accepting defeat or believing he has no chance. He knows from experience, people fall in love not because the ones they fall for are obtainable, but because they sparkle in your eyes; it’s not rational. And its also not just up to Arima: Watari tells him the girl will let him know.

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Last week we had a Castle in the Sky reference, but the introduction of the violin is pure Whisper of the Heart

That’s quite the evolved sensibility from Watari; he seems the kind of guy who wouldn’t take a girl his friend formed a closer bond to. But again, it’s ultimately up to Arima to fight for her, and up to Kaori to decide who she likes. There are indications she’s leaning Arima’s way, judging by how seriously she valued his opinion and the fact she let his lie about Watari practicing slide because it was his way of professing his desire to walk her home, and promotes him from Friend A to Substitute Watari. Progress!

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Poor Tsubaki! She looked like a perfectly acceptable choice for Arima for most of last week’s episode right up until Arima met Kaori. But now, Arima settling for her, as cute and loyal and fun and close as she is, could only feel like defeat at this point. Kaori is rapidly restoring Arima’s passion for music and sweeping away all the bile that had amassing in him from his mother’s negative influence. But in setting up this fateful double date, Tsubaki may have handed her beloved Arima to another.

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Two episodes in, and this show is hitting on all cylinders, with few if any flaws. The animation during Kaori’s performance was fantastic, and while we have Beethoven to partially thank for elevating the scene, we have whomever put such a provocative, avant-garde spin on his Sonata for elevating it even more. I want a musical performance in every episode. And I want to watch Kaori and Arima to play together…like soon. Bra-fucking-vo. Encore! Buick Encore!!

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Shigatsu wa Kimi no Uso – 01

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Don’t look now, but I’ve got myself another contender for top Fall pick in the romance/comedy/drama genres, with this show easily eclipsing InoBato’s more shallow charms, while eschewing the gut-punchy twists of Waremete. Shigatsu wa Kimi no Uso (Your Lie in April) is off to a superbly gorgeous, heartfelt start, and it gets there by sticking to the fundamentals of anime as a medium: sights and sounds.

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Cutting from a blonde girl chasing a cat around a town in full Spring bloom to the flashback of a piano prodigy absolutely killing it at a recital (playing Beethoven’s appropriately relentless Piano Sonata No. 14 – Presto Agitato) but the piano abruptly cuts to silence and the present day, when he’s transcribing pop music for work, but writing and playing none of his own. This is our bespectacled protagonist, Arima Kousei (Hanae Natsuki).

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His work is interrupted by the cute, lively, tomboyish Sawabe Tsubaki (Sakura Ayane) in the form of a baseball through the window of the music room into his face. It’s almost a fated ball, since in addition to being his neighbor and childhood friend (who attended that recital years ago), she also seems to harbor pretty strong feelings towards him, which aren’t really returned in the way she’d like; Kousei considers her a sister.

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The episode spends a good amount of time establishing these two as an all but ideal married couple, despite their differing views on the relationship, creating a kind of holding pattern. They may be very different people, but proximity and time have made Tsubaki grow fond of Kousei, though she remarks that he was cooler back when he played the piano.

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About that: it’s not that Kousei doesn’t play piano because of some kind of magic spell: his ill mother was obsessed with molding him into a world-class pianist, and she was quite emotionally and physically abusive to him. That took its toll, with him coming to believe becoming great would help her get recover, but then she died before his first big recital. For that he blames and hates the piano, and himself…but still clings to it, because without the piano…he’s “empty”.

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The visual medium is exploited to its fullest to express moods and states of mind. Despite his lush, arresting environs, Kousei sees the world in stark monotone, like sheet music or piano keys. But he’s in his fourteenth spring, and his last in middle school, and all around him people are pairing off into lovey-dovey couples, as the season is full of young love. He and Tsubaki are never far from one another, but he doesn’t see her that way.

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It’s only when Tsubaki makes him join her for a weekend double date with their handsome, athletic mutual friend Watari Ryouta (Ohsaka Ryouta) and a girl who likes him that things change. The others are seemingly late, but he finds suspicious pair of shoes and tights, and is suddenly led to a playground where a gorgeous barefoot girl is playing Hisaishi’s uplifting “A Morning in the Slag Ravine” from Castle in the Sky on the melodica, accompanying a trio of little kids who want to attract pigeons like Pazu.

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The sound of the music, and the sight of the girl playing so beautifully, suddenly switches on all the light and color in Kousei’s world, like he was shot with a diamond, and he experiences exactly what Tsubaki’s friend Miwa described as the moment she found love. It’s such a lovely scene, Kousei breaks out his cameraphone to capture it…just when a stiff breeze lifts the girl’s skirt, which is the moment she realizes he’s there, and she shows her violent side.

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Tsubaki and Ryouta arrive and introductions are made: the blonde girl is Miyazono Kaori (Taneda Risa); Tsubaki introduces her to Kousei as “Friend A.” As Tsubaki predicted, Kaori and Ryouta start flirting with each other immediately, like the pair of perfect human specimens they are, while Kousei and Tsubaki look on. Then Kousei learns Kaori is a violinist. When she invites everyone to hear her perform, he declines and turns to leave, but she catches his hand and insists: he’s coming with.

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That shows that despite their somewhat rough start, Kaori is receptive to starting anew, making friends, and sharing more of her musical talent with him. Little does she know that in doing so she may be touching old wounds he bears, but also showing him that music need not be a nemesis; it can also heal, inspire, and bring people together. And so it begins.

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Kill la Kill – 11

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After Ryuuko seemingly defeats Jakuzure in an aerial clash, she bounces back with an encore in her “Da Capo” Symphony Regalia, paralyzing Senketsu with Beethoven’s Fifth. Ryuuko negates the attack with the sound of her own heart, and turns the sound on Jakuzure, who falls in defeat. Uzu faces her next, but their battle is interrupted by Nui Harime, Grand Couturier of Revoc, an organization led by Satsuki’s mother Kiryuin Ragyo. Nui brandishes the other half of Ryuuko’s scissors and tells her she was the one who killed her father.

“Things are getting more complicated by the minute,” Mikisugi laments when Harime Nui (voiced by the lovely Tamura Yukari) makes her appearance. We personally couldn’t be happier with the significant raising of stakes. Satsuki is fresh out of three-stars, and the self-amplifying dynamic of the show demanded that eventually Ryuuko’s conflict was going to soar far beyond the walls of Honnouji Academy. Here we were thinking Satsuki was unquestionably Ryuuko’s dad’s murderer, but in comes Nui, turning our (and Ryuuko’s) assumption on its head.

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Not only is Satsuki not the culprit, but she’s not even Ryuuko’s greatest threat anymore. The show really underlines Ragyo’s magnificence by making her literally shine with a blinding light. As pumped as we are for the ramifications of all these new introductions, which will reverberate across the second half of the series, we commend the episode for resisting the urge to dispatch Jakuzure too quickly. Satsuki’s right-hand woman deserved a longer, more intense fight against Ryuuko than those who preceded her, and got it. (Also cool: the theme to Ryuuko’s heart sounds like Aoi Eir!)

We also appreciated the running gags of the losers sitting with Mako, Gamagoori gradually warming up to her, and her family’s struggles to catch all the action. Let’s not forget that by summoning Fukuroda and commissioning a bullet made of life fibers, Mikisugi sure looked like he was fixing to “subdue” Ryuuko lest she get out of control, perhaps. But both his plans and Ryuuko’s battle with Uzu were cut short (quite hilariously in the latter case) by this whimsically-attired young lady who can dispatch a three-star with one finger, and cheerfully admit to killing Ryuuko’s dad with a smirk on her face. The Anti-Ryuuko.

9_superior
Rating: 9 (Superior)

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